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essent?rving?88 CHAPTER 8 CARYING A COMMONPLACE OBJECT IN HIGH RELIEF Finding Interest IN
essent?rving?89 C A R V I N G A COMMONPLACE OBJECT IN H I G H R E L I F. F Making a Model and CHOOSI
essent?rving?90 E S S E nr I A I. WOODCARVlNG T E C H N I Q U E S To CARVE IN THE ROUND or in Relief
essent?rving?91 C A R V I N G A COMMONPLACE O B J E C T IN H I C 11 Stab marks madę when setting dow
essent?rving?92 Essentiai. Voodcarving T e c h n i q u f. s che ground then began crcating the relat
essent?rving?93 C A R V I K G A COMMONPLACE OBJECT IX HlCII R F. L 1 F F FlG 8.9 The skin is morę de
essent?rving?94 E s S E N T I A 1. W O O D C A R V I X G T ECH N l,QUES Undercutting unnecessarily&n
essent?rving?95 - C A R V I N G A COMMONPLACE OBJECT IN H I G H R; : .H Fig 8.15 Texturing the insid
essent?rving?96 Essen ti al W o o dcaryinc T e c h niq u e s Fig S.18 Cutting across tbe gmin wbere
essent?rving?97 CHAPTER9CARVING IN THE ROUND The rwo most common blocks which I encountcr with studc
essent?rving?98 Essential Woodcarving Techniques Fig 9.1 Various lines. The one on the left Incks in
essent?rving?99 C A R V 1 N C IN THE R O U X D CON VEYING A SENSE OF DEPTH If you are drawing with a
essent?rving?00 E $ S F. N T l A I. WOODCARVING T E C H N I Q L E S object I wish to draw so that it
essent?rving?01 A Heavy shading on outside C A R V I N G IN THE ROIND Fig 9.8 Three ways to indicate
essent?rving?02 Fig 9.13 Top view of tbe can at an early stage. Fig 9.11 Preparatory drawing of a sq
essent?rving?03 C A R V I N G IN THE R O U N D leave a piece of rhe wood which can bc sacrificed at
essent?rving?04 E S S E N T I A L W O O D C A R V I N G T E C H N I Q V E S (Fig 9.20) bur could hav
essent?rving?05 C A R V 1 N c, IN T H F. R O L N D Fig 9.19 Using a rijfler to shape the stew of th
essent?rving?06 E S S F. N T I A !. W O O D C A R V I X G T F. C H N I Q C E $ Fic, 9.22 A backbent
essent?rving?07 Fig 9.27 The handles of the tap were broken and dowelledfor strength. The Finish Sin

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